That means sacrificing a few performances along the way. Opeth, for instance, deliver a set that is impeccably played but struggles to fully connect in the festival environment. Their intricate compositions thrive in theatres and clubs, where audiences can absorb the details. In broad daylight, on a massive outdoor stage, much of that subtlety is inevitably lost. The heavier moments fare considerably better, but the band's understated stage presence does little to bridge the gap.
Ghost, performing on the neighbouring stage, fare rather differently. Even from a distance, they sound excellent, and the crowd's reaction suggests a band rapidly outgrowing second-stage status. Their pyrotechnics are visible from halfway across the festival grounds, and as their set draws to a close, a sizeable portion of the audience immediately migrates towards the Main Stage.
At precisely 9:45 p.m., following a lengthy video introduction and the inevitable strains of Carl Orff's "O Fortuna," Ozzy Osbourne finally appears.
Having recently completed Black Sabbath's farewell tour, he now returns in a different context. The atmosphere is lighter, less oppressive, less steeped in doom. Ozzy's solo career has always embraced a more playful side of heavy metal, and that spirit remains intact. Watching him perform is still a strangely unique experience. He possesses the enthusiasm of an overgrown child, entirely unburdened by self-consciousness and seemingly delighted to be standing on a stage in front of thousands of people. Whatever other qualities he may possess, self-awareness has never been one of them.
His energy remains infectious. So does his relentless insistence that the crowd make even more noise, despite repeatedly claiming that he still cannot hear them.
Beside him, Zakk Wylde continues to be one of heavy metal's most distinctive guitarists. His style is excessive, instantly recognisable and utterly unapologetic. The pinch harmonics fly freely, the solos stretch towards the horizon and every riff arrives with maximum force. Whether one considers him subtle is beside the point. The man is a force of nature.
The setlist wisely balances Black Sabbath staples and solo favourites, delivering exactly what the audience wants. If there is one drawback, it is the extensive down-tuning required to accommodate Ozzy's voice. Some of the more familiar riffs lose a degree of clarity in the process. "Fairies Wear Boots," in particular, occasionally sounds muddier than one might like. Still, these are relatively minor concerns in the context of such a performance.
The show itself feels slightly shorter than advertised once the introductions, solos and audience interaction are accounted for, but few people seem inclined to complain. Ozzy's voice may not be what it once was, and he spends much of the evening anchored behind strategically placed teleprompters, yet the essential magic remains intact.
As the final notes ring out, the crowd leaves exhausted, satisfied and fully aware that performers of this stature are becoming increasingly rare. There are not many legends left. Ozzy Osbourne remains one of them.
